It feels redundant to call the lead, Toma Hoffman’s Maniac, just one character. His seamless transitions between accents, demeanour and mannerisms allowed him to create dialogue so convincing it was hard to believe he was the only actor on stage. The political message was excellently conveyed, with the integrity remaining despite constant and well deserved laughter from the audience. Matthew Heppell’s Bertozzo and the anguish towards him developed an amusing dynamic between the pair, and the subtleties of his facial expressions developed his anger into such levels it was hard to believe the pair had enjoyed so many rehearsals together.
The good-cop, bad-cop relationship between Pisani, played by Sam Bevan, and Chantelle Winder’s Superintendent bounced off of Hoffman’s gregariously charming, yet ever cheeky, presence, creating a convincing, hilarious and still utterly corrupt dynamic on stage which removed me from the theatre and placed me in the police station. I felt myself hating them, laughing with them, and to my utmost discontent, almost sympathising with them.
Pisani’s awkward yet endearing manner complimented the Superintendent’s stern yet hysterical character, and even when not at the centre of attention, they remained utterly committed to the cause. Constables 1 and 2 (Phoebe Cookson and Eden Houlberg) were essential to this dynamic, causing eruptions of laughter throughout the audience, and towards the ending, Barbara McLaughlin’s Feletti, with her inquisitive and incredulous attitude towards the situation, made the farcical comedy ever more ridiculous whilst simultaneously ever more hard hitting.
The staging set the scene, with details such as the window adding profound meaning to the play, allowing the political message to remain subtly throughout without allowing the audience to forget it. The costumes complimented the 70’s aesthetic greatly, and I particularly enjoyed the sheer amount of ties on the Maniac’s body.
Although all of these details created an impressive depiction of the 1970s, there were some elements that I would argue to be too modern and seemed slightly out of place. The use of music and lighting created many humorous elements, especially when the scene was set to midnight, however there were a couple times where the sound was slightly too loud in the dialogue to gain complete understanding of what was being said.
Overall, I found this performance of Accidental Death of an Anarchist to be engaging, hilarious and poignant, serving as a sobering reminder regarding police brutality, yet peppered with hilarity that made an extremely enjoyable watch.
Rating: ★★★★☆
SUTCo’s Accidental Death of an Anarchist is playing until March 1st at the University of Sheffield Drama Studio. Tickets are available here
